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| Mirrored 5ths... Is there such a thing? https://stickist.com/viewtopic.php?f=27&t=14270 |
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| Author: | waltschwarzkopf [ Mon Sep 16, 2019 8:40 am ] |
| Post subject: | Re: Mirrored 5ths... Is there such a thing? |
ixlramp wrote: waltschwarzkopf wrote: Have you play inverted and straight fifths? If so, did you notice much difference? I haven't used inverted fifths enough to comment. I do remember a Trey Gunn interview where he expressed how mirrored fifths works well in being symmetrical in terms of body symmetry and the symmetry of the hands playing the 2 regions: For both hands the strings rise in fifths in the direction the fingers point. So, you play normally in straight fifths? ixlramp wrote: I forgot to add: Considering a single region tuning inverted or not, not inverted possibly seems better. It's more ergonomic for the left hand to be closer to the nut than the right hand, playing lower frets than the right hand, and it is more comfortable for the hands to play the strings on the more distant side of the fretboard. So, it seems to make more sense to have the lowest notes on the opposite side from the left hand, and the highest notes on the opposite side from the right hand. This makes a lot of sense, I was thinking about how uncomfortable it would be playing the low C & G on the first two strings. Inverted makes it easier on the 10/12 string models because they are in the middle of the fretboard. I guess I'll give the crafty tuning that you advised BGW a try too. One last question: Does this "6 in fifths plus a minor third plus a major second" happens to make chording easier? Like making one finger chords on the three highest strings, for example. |
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| Author: | ixlramp [ Mon Sep 16, 2019 1:05 pm ] |
| Post subject: | Re: Mirrored 5ths... Is there such a thing? |
I do not own a dedicated tap guitar, i modify 6 string bass guitars for tapping. All-fifths (non-inverted) has been my most used tuning. The small intervals on the top of crafty tunings probably create some interesting chord possibilities, but the origin of them is a little random and are essentially the result of fifths creating too much range for an instrument. I recently learned (from an entry in his online diary) that Robert Fripp's half-asleep sauna vision of his 'New Standard Tuning' was actually as all-fifths CGDAEB, but B was impossible at the time on a guitar. He tried A (fourth up) but that broke often, so he chose G (minor third up), A and G both being present in the tuning already. This approach was later extended: When a guitar had 2 strings that couldn't be tuned to the next fifth up, they were tuned to the minor third and fourth Robert tried, this was the origin of fifths - minor third - major second. The first use of this NST variation i know of was Trey Gunn on a 12 string Warr Guitar, CGDACD on the melody side. When he started using an 8 string single-region Warr Guitar his concept was to extend this melody tuning downwards, resulting in BbFCGDACD. The 12 string Stick he used before the Warr Guitars was set up with 5 bass and 7 melody, i know that he used NST type tunings on that, so i suspect FCGDACD on the melody side, but i have not confirmed that. Markus Reuter of Touch Guitars, another Fripp student, then started playing an 8 string Warr Guitar in the same tuning, then went on to design his own 8 string. |
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